Those who want to know anything about strike action by Italian nurses will find very little written about it. This contribution intends to show that, whatever they are prepared to admit, Italian nurses are not used to strike action because they mostly think of their profession as a form of mission. Even if we could agree with the idea of nursing as a profession subscribing to an ideal of service, we have to distinguish between a real profession and philanthropic work; (...) vocational motivation is not enough to make a good professional. Historically, nurses perceived strikes as contradictory to human need and action; patients must never be left alone. However, Italian nurses are now interested in a dramatic transformation of many aspects of their professional life, becoming conscious of the duty to protect themselves from every kind of exploitation, even if the typical idealism and dedication of nurses makes them vulnerable. (shrink)

In this paper, some novel analytical and numerical techniques are introduced for solving and analyzing nonlinear second-order ordinary differential equations that are associated to some strongly nonlinear oscillators such as a quadratically damped pendulum equation. Two different analytical approximations are obtained: for the first approximation, the ansatz method with the help of Chebyshev approximate polynomial is employed to derive an approximation in the form of trigonometric functions. For the second analytical approximation, a novel hybrid homotopy with Krylov–Bogoliubov–Mitropolsky method is introduced (...) for the first time for analyzing the evolution equation. For the numerical approximation, both the finite difference method and Galerkin method are presented for analyzing the strong nonlinear quadratically damped pendulum equation that arises in real life, such as nonlinear phenomena in plasma physics, engineering, and so on. Several examples are discussed and compared to the Runge–Kutta numerical approximation to investigate and examine the accuracy of the obtained approximations. Moreover, the accuracy of all obtained approximations is checked by estimating the maximum residual and distance errors. (shrink)

The nonlinear differential equation governing the periodic motion of the one-dimensional, undamped, and unforced cubic-quintic Duffing oscillator is solved exactly by obtaining the period and the solution. The period is given in terms of the complete elliptic integral of the first kind and the solution involves Jacobian elliptic functions. We solve the cubic-quintic Duffing equation under arbitrary initial conditions. Physical applications are provided. The solution to the mixed parity Duffing oscillator is also formally derived. We illustrate the obtained results with (...) concrete examples. We give high accurate trigonometric approximations to the Jacobian function cn. (shrink)

In this study, some new hypotheses and techniques are presented to obtain some new analytical solutions to the generalized Kawahara equation. As a particular case, some traveling wave solutions to both Kawahara equation and modified Kawahara equation are derived in detail. Periodic and soliton solutions to this family are obtained. The periodic solutions are expressed in terms of Weierstrass elliptic functions and Jacobian elliptic functions. For KE, some direct and indirect approaches are carried out to derive the periodic and localized (...) solutions. For mKE, two different hypotheses in the form of WSEFs are used to derive the periodic and localized solutions. Also, the cnoidal wave solutions in the form of JEFs are obtained. As a realistic physical application, the solutions obtained can be dedicated to studying many nonlinear waves that propagate in plasma. (shrink)

This paper reports a study of the roles of visuo-spatial and verbal working memory capacities in solving a planning task - the five-disc Tower of London (TOL) task. An individual differences approach was taken. Sixty adult participants were tested on 20 TOL tasks of varying difficulty. Total moves over the 20 TOL tasks was taken as a measure of performance. Participants were also assessed on measures of fluid intelligence (Raven's matrices), verbal short-term storage (Digit span), verbal working memory span (Silly (...) Sentence span), visuo-spatial short-term storage (Visual Pattern span and Corsi Block span), visuo-spatial working memory (Corsi Distance Estimation), visuo-spatial processing speed (Manikin test), and verbal speed (Rehearsal speed). Exploratory factor analysis using an oblique rotation method revealed three factors which were interpreted as (1) a visuo-spatial working memory factor, (2) an age-speed factor, and (3) a verbal working memory factor. The visuo-spatial and verbal factors were only moderately correlated. Performance on the TOL task loaded on the visuo-spatial factor but did not load on the other factors. It is concluded that the predominant goal-selection strategy adopted in solving the TOL relies on visuo-spatial working memory capacity and particularly involves the active ''inner scribe'' spatial rehearsal mechanism. These correlational analyses confirm and extend results previously obtained by use of dual task methods, (Phillips, Wynn, Gilhooly, Della Sala, & Logie, 1999). (shrink)

There is a growing interest in improving the teaching–learning process at all levels of education, including higher education. In recent years, university institutions have been taking action to renew and modernize the way in which they teach and learn, making the process more dynamic and closer to the current social reality. Competencies such as the ability to work in a team have become essential for the successful implementation of innovative methodologies in which student participation is particularly relevant. Student acceptance is (...) key to the success of any teaching methodology; however, the influence of group work skills on satisfaction with innovative methodologies such as project-based learning has not yet been tested among university students. Thus, the objective of this study is to explore the association between group work competencies and satisfaction with PBL. A total sample of 359 students from two Spanish universities participated in the research. Our results reveal that there is a significant and positive relationship between competencies related to group work and satisfaction with PBL. In addition, a multiple regression analysis shows that the competencies “Conception of group work,” “Usefulness of group work,” “Planning of group work by teachers,” and “Group norms” increase satisfaction with the use of the PBL methodology. This work expands our knowledge about the role in increasing students’ satisfaction that is played by the ability of college students to work as a team. These findings could also guide teachers interested in new teaching methodologies. (shrink)

This paper reports a study of planning processes in the five-disc Tower of London (TOL) task in 20 younger and 20 older adult participants. A concurrent direct ''think-aloud'' method was used to obtain data on planning processes prior to moving discs in the TOL. A check was made of the effects of verbalising by comparing performance data from the experimental groups with data from control groups who did not verbalise during planning or moving. Verbalising slowed down planning and moving but (...) did not appear to distort the participants' approaches to the task. Older and younger participants did not differ in average moves taken to solve the tasks. However, older participants' planning was less complete and more error-prone than that of younger participants. The planning processes were characterised as showing a means-ends ''goal selection'' strategy. In this strategy participants (1) identify a single active goal disc at the start, (2) select moves and move sequences to enable the placing of the current goal disc in its target position, and (3) continue in this way until all discs are in their target positions. Age differences were found in the planning stage, during which there was no stimulus support and hence a substantial working memory load. During the move phase there was stimulus support and hence little loading of working memory. Age differences in moves required were not found in the move phase. As older participants tend to have depleted working memory capacity the present results suggest that working memory is heavily loaded in TOL planning but less so in the move phase of TOL. (shrink)

En este artículo destacamos algunos aspectos ligados a la perspectiva intercultural presente en la obra del filósofo brasileño Antonio Sidekum y del filósofo cubano-alemán R. Fornet-Betancourt. Haciendo referencia a ambos autores buscamos avanzar en una reflexión actual en torno a la ética, al recon..

The concept of the Islamic state, which is one of the main debates of Islamism, was an important source of motivation for Islamist movements, especially during the cold war. The debates in this context mostly focus on how to establish a relationship between the secular character of the modern state and Islam. In this study, Wael B. Hallaq's book titled The Impossible State: Islam, Politics, and Modernity's Moral Predicament will be reviewed. The book keeps this discussion current and offers a (...) different perspective. Hallaq's main thesis reveals why an Islamic state is not possible within the modern paradigm. Hallaq bases his thesis on the paradigm difference between modern law and Islamic law. İslamcılığın temel tartışma konularından biri olan İslam devleti kavramı, özellikle soğuk savaş döneminde İslamcı hareketlerin önemli bir motivasyon kaynağıydı. Bu bağlamdaki tartışmalar daha çok modern devletin seküler karakteri ile İslam arasında nasıl bir ilişkinin kurulacağı üzerine odaklanılmaktadır. Bu çalışmada değerlendirilecek olan Wael B. Hallaq’ın İmkânsız Devlet çalışması bu tartışmayı hem canlı kılmakta hem de farklı bir perspektif sunmaktadır. Hallaq’ın temel tezi modern dönemde bir İslam devletinin niçin mümkün olmadığını ortaya koymaktadır. Hallaq, tezini İslam hukuku ile modern devletin dayandığı hukukun paradigmatik düzeyde birbirinden nasıl farklı olduklarını inceleyerek temellendirmektedir. (shrink)

Ẓuhūr al-amān (The advent of security) is a book on civics published during the reign of Ammanullah Khan (1919-29) as amir of Afghanistan. The book's title pays homage to the name of Ammanullah Khan himself. In its treatment of the duties of the members of Afghan society to the ruler and to each other, Ẓuhūr al-amān appears to highlight the challenges faced by Ammanullah Khan in his efforts to modernize Afghanistan. The book is divided into more than 30 short chapters (...) describing the rights and responsibilities of the ruler, of persons living within a family unit, and of members of Afghan society as a whole. Some sections, such as one on the rights that are to be afforded to the king (ḥuquq-i lazima bar padishah), are further divided into subsections. The book begins with several chapters on religious matters, including those on tauhid (the unity of God), on ʻibada (worship), and on fahm-i sharīʻat-i rasūl ʻalayhi al-salām (the sharia). Ẓuhūr al-amān was published on October 11, 1923, by the then newly established Ministry of Education. The author of the work, a religious scholar by the name of ʻAbd al-Haqq, lists his father as ʻAbd al-ʻAziz from the village of Lower Arghanda in the township of Paghman, near Kabul. He highlights, as well, his tribal affiliation with the well-known Pushtun tribe of Suleimankhel. (shrink)

In der anonym überlieferten Schrift Masā'il ʻAbdallāh ibn Salām (Die Fragen des ʻAbdallāh ibn Salām), befragt ein jüdischer Gelehrter den Propheten Muḥammad, um herauszufinden, ob dieser ein echter Prophet sei. Die Fragen sind mannigfaltig: Es geht um die Definition des Glaubens, die verschiedenen Arten der Offenbarungen, die Schöpfung der Welt und des Menschen, die Stellung von Mann und Frau in der Welt, die Engel, das Jüngste Gericht. Nachdem Muḥammad alle Fragen korrekt beantwortet hat, nimmt der Gelehrte den Islam an und (...) erhält vom Propheten den neuen Namen ʻAbdallāh ibn Salām (Diener Gottes, Sohn des Friedens).Der Text bietet eine praktische Zusammenfassung islamischer Lehren und volkstümlicher Traditionen und verbreitete sich deshalb sowohl innerhalb als auch ausserhalb der islamischen Welt. Er wurde u.a. ins Persische, Türkische, Urdu, Tamil und Malayische übersetzt. Im 12. Jahrhundert wurde er ausserdem unter dem Titel Doctrina Mahumet ins Lateinische übertragen, die spätere Grundlage für Übersetzungen in europäische Volkssprachen.Ulisse Cecini legt erstmals den arabischen Text in einer kritischen Edition mit deutscher Übersetzung und einer ausführlichen Einleitung zur Geschichte, Bedeutung und Überlieferung des Textes vor. Im Anhang findet man die kritische Edition und die deutsche Übersetzung der lateinischen Version Doctrina Mahumet, verfasst von Reinhold F. Glei und Concetta Finiello. (shrink)

En las siguientes páginas se abordará la cuestión de la teoría crítica de cuño frankfurtiano, en términos de su comprensión como teoría crítica contextual, a partir de una lectura en clave intercultural latinoamericana. Primero se mostrará el tipo de influencia de la teoría crítica en la filosofía latinoamericana, en segundo lugar – a través de algunos trabajos de R. Salas Astraín – se abordará el carácter crítico de la filosofía latinoamericana, y en un tercer momento se avanzará la idea de (...) un desplazamiento hacia una teoría crítica contextual. (shrink)

O objetivo do trabalho é apresentar a compreensão de docentes do ensino superior sobre a importância da pedagogia problematizadora. O estudo apresenta uma abordagem quali-quantitativa realizada com 27 docentes de uma instituição privada de ensino superior na província de Maputo, em Moçambique. Esse é o número de docentes que aceitou participar da pesquisa e preencheu o instrumento de avaliação autoaplicado. O estudo usou uma amostragem intencional e não probabilística, dada a impossibilidade de inquirir a todos os docentes da instituição; buscou-se, (...) assim, selecionar um subgrupo da população que, com base nas informações disponíveis, pudesse ser considerado representativo de toda a população. Os dados da pesquisa foram coletados por meio de um questionário autoaplicável e os resultados dispostos em tabela de frequências e inferência a partir do teste de correlação de Spearman (r). Constitui uma inovação considerar os parâmetros de correlação de Spearman para investigar a força de relacionamento entre as variáveis de princípios pedagógicos. O ensino superior é um local por excelência de transmissão de conhecimentos e valores sociais geradores de mudanças no estudante, em que o professor supera a visão de simples transmissor de conteúdos e executor de tarefas, adotando um sistema de educação progressista. Do correlacionamento feito entre a “importância do ensino problematizador” vs “ter ouvido falar do ensino problematizador” vs “o estudante ter direito de trazer seus conhecimentos”, pode-se constatar dificuldades oriundas da vigência do sistema bancário, um sistema que considera o aluno apenas como recipiente vazio a ser preenchido. Pode-se observar que a Metodologia Problematizadora exige imbricar a realidade e a prática, o que desperta um conjunto de implicações no momento da sua implementação dentro da sala de aula. Feito o correlacionamento entre a “importância do ensino problematizador” vs “ter ouvido falar do ensino problematizador” vs “o estudante ter direito de trazer seus conhecimentos”, pode-se constatar que a maior parte dos docentes inquiridos já ouviu falar sobre o sistema problematizador o que representa um nível satisfatório, apesar de não completo por existir uma minoria que ainda não ouviu, apontando a prevalência do ensino bancário na instituição, um sistema de ensino e aprendizagem que vê o aluno como uma caixa vazia, apenas um receptáculo Freire (2001a). A recomendação, porém, é que apesar de todos os desafios, a problematização deve ser exigida às instituições do ensino superior, criando condições de interação aluno-professor, e a comunidade donde ambos brotam, como o pilar da construção do conhecimento científico de qualidade em conformidade com as metas da Agenda 2030. (shrink)

Vortrage, gehalten anlasslich eines Arbeitsgespraches vom 28.-29. Oktober 1996 in der Herzog August Bibliothek:G. Gawlick, Ciceros Bedeutung fur BodinT. Leinkauf, Absolute Einheit und unendliche Vermittlung im Denken Bodins. Philosophische Grundzuge seines DenkensA. Blair, The Foundations of Bodin's Natural PhilosophyF. Lestringant, Jean Bodin et le savoir cosmographique dans le "Theatre de la Nature universelle" et "l'Heptaplomeres"D. de. Courcelles, Pensee lullienne et "Colloquium Heptaplomeres"F. Griffel, Toleranzkonzepte im Islam und ihr Einfluss auf Jean Bodins "Colloquium Heptaplomeres"M. Leathers Kuntz, Nature, Law and Music in (...) the "Colloquium Heptaplomeres" of Jean Bodin: A Paradigm for TolerationJ. de Salas, Characters and Dialogue in Bodin's "Colloquium Heptaplomeres"R. Hafner, Die Geisterlehre Jean Bodins und der literarische Stil des "Colloquium Heptaplomeres". (shrink)

This book contains a collection of papers from the 1985, 1987 and 1989 Australian Lonergan Workshops. Contents: A Summary of Lonergan's Economic Diagram, S.P. Burley; How Lonergan Illuminates Aristotle, T.V. Daly, S.J.; Lonergan and the Philosophy of Science, Dr. W.J. Danaher; "Transubstantiation Over Transsignification": Giovanni Sala and Edward Schillebeeckx on the Eucharistic Presence, P. Beer, S.J.; Schillebeeckx's Philosophic Prologomenon: A Dialectic Analysis, Dr. N. Ormerod; Mutual Self-Mediation with Christ, F. Fletcher, M.S.C.; The Integration of Trinitarian Theology and Spirituality, Bishop (...) J. Bathersby; A Von Neumann Representation of Lonergan's Production Model, S.P. Burley; Chemistry and Insight, Dr. W.J. Danaher; Rediscovering Philosophies through Cognitional Models, T. Daly, S.J.; The Holy Spirit and Lonergan's Psychological Analogy, P. Beer, S.J.; Lonergan and Finnis on the Human Good, Dr. N. Ormerod; A Response to Lonergan and Finnis, Rev. G. Moses; Insight in Science, Dr. W.J. Danaher; Learning-Levels, T.V. Daly, S.J.; Lonergan as a Neo-Schumpeterian, S.P. Burley; Bernard Lonergan, Mechanism and Evolution, L. Drake, S.J.; Can I Be Certain That I Am Justified?, P. Beer, S.J.; The A Priori in Human Knowledge: A Critique of Kant from the Point of View of Lonergan's Insight, M. Brennan, R.C.S.J.; The Foundational Theologian as Prophet, F. Fletcher, M.S.C. (shrink)

The End of the Timeless God considers two approaches to the philosophy of time, presentism and eternalism. It is often held that God cannot be timeless if presentism is true, but can be if eternalism is true. R. T. Mullins draws on recent work in the philosophy of time as well as the work of classical Christian thinkers such as Augustine, Anselm, and Aquinas to contend that the Christian God cannot be timeless in either case.

The current times call for reforms in educational processes. The Covid-19 pandemic had an unforeseen impact on the educational system in all countries. This need for change requires new pedagogies and new methods for teaching and learning. Understanding the need for change is essential for the formulation of adaptive proposals, as well as for the generation of training activities to complement the teaching curriculum. New educational practices lead to a vision of educational quality, with new approaches that allow the continuous (...) integration of knowledge and permanent interaction with the student. This paper presents an analysis of the new teaching methodologies in times of confinement due to the pandemic caused by Covid-19. Keywords: Teaching methodologies, educational system, learning process. References [1]É. Tremblay-Wragg, C. Raby, L. Ménard y I. Plante, «El uso de estrategias didácticas diversificadas por cuatro profesores universitarios: ¿qué contribución a la motivación de aprendizaje de sus alumnos?,» Docencia en educación superior, vol. 26, nº 21, 2021. [2]L. Czerniewicz, R. Mogliacci, S. Walji, A. Cliff, B. Swinnerton y N. Morris, «Enseñanza y aprendizaje académico en el nexo: desagregación, mercantilización y digitalización en la educación superior,» Teaching in Higher Education, vol. 26, nº 2021, p. 16, 2021. [3]S. Dogan y A. Adam, «Aumentar el efecto del desarrollo profesional en la instrucción efectiva a través de comunidades profesionales,» Docentes y docencia: teoría y práctica, vol. 26, nº 3-4, pp. 326-349, 2020. [4]I. M. Torres Salas, «La enseñanza tradicional de las ciencias versus las nuevas tendencias educativas,» Educare, vol. 14, nº 1, pp. 131-142, 2010. [5]B. Fabio, J. Antonio Palomino y J. González Henríquez, «Evaluación y contraste de los métodos de enseñanza tradicional y lúdico,» Revista de Educación física y deportes, vol. 13, nº 94, pp. 29-36, 2008. [6]Y. Benítez y C. Mora, «Enseñanza tradicional vs aprendizaje activo,» Revista Cubana de Física, vol. 27, nº 2A, pp. 175-179, 2010. [7]P. Morales Bueno y V. Landa Fitzgerald, «Aprendizaje basado en problemas,» Theoria, vol. 13, nº 1, pp. 145-157, 2004. [8]R. Gil-Galván, I. Martín-Espinosa y F. Gil-Galván, «University student perceptions of competences acquired through problem-based learning,» Educación XXI, vol. 24, nº 1, pp. 271-295, 2020. [9]E. Ortiz Cermeño, «El aprendizaje basado en problemas,» Perfiles Educativos, vol. 41, nº 164, pp. 208-213, 2019. [10]E. Araos-Baeriswyl, C. Moll-Manzur, Á. Paredes y J. Landeros, «Aprendizaje invertido: un enfoque pedagógico en tiempos de pandemia,» Rev. Atención Primaria, vol. 53, nº 1, p. 117, 2021. [11]V. León-Carrascosa, M. Belando-Montoro y S. Sánchez-Serrano, «Design and validation of a questionnaire to evaluate the service-learning methodology,» Rev.Estudios sobre educación, vol. 39, nº 1, pp. 247-266, 2020. [12]J. Collado-Ruano, M. Ojeda, M. Malo y D. Amino, «Educación, arte e interculturalidad: El cine documental como lenguaje comunicativo y tecnología innovadora para el aprendizaje de la metodología I + D + I,» Rev. Texto livre, vol. 13, nº 3, pp. 376-393, 2020. [13]P. M. Bueno y V. Landa Fitzgerald, «Aprendizaje basado en problemas,» Theoria, vol. 13, nº 1, pp. 145-157, 2004. [14]J. A. Martí, M. Heydrich, M. Rojas y A. Hernández, «Aprendizaje basado en proyectos: Una experiencia de innovación docente,» Universidad EAFIT, vol. 46, nº 158, pp. 11-21, 2010. [15]L. Rojas y N. M. Jaimes, «Canvas LMS y el trabajo colaborativo como metodología de aprendizaje en entornos virtuales,» de Congreso Ibérico de Sistemas y Tecnologías de la Información, CISTI, Bogotá, Colombia, 2020. [16]B. Bordel y P. Mareca, «Results and Trends in educational MOOCs in the engineering area with MIRIADAX platform. A case study,» de 15th Iberian Conference on Information Systems and Technologies, CISTI 2020; Seville; Sevilla, España, 2020. [17]K. Vermeir y G. Kelchtermans, «Innovative practice as interpretative negotiation.A case-study on the kamishibai in Kindergarten.,» Teachers and Teaching: Theory and Practice, vol. 26, nº 3-4, pp. 248-263, 2020. [18]B. Tucker, «The Flipped Classroom: Online instruction at home frees class time for learning,» Education Next, vol. 1, nº 1, pp. 82-84, 2012. [19]M. V. Ledo, N. R. Michelena, N. N. Cao, I. d. R. M. Suárez y M. N. Vialart Vidal, « Aula invertida, nueva estrategia didáctica,» Educación Médica Superior, vol. 30, nº 3, pp. 678-688, 2016. [20]Metodologías activas por medio de las TIC, [Online]. Available: https://www.campuseducacion.com/blog/recursos/articulos-campuseducacion metodologias-activas-por-medio-de-las-tic/?cn-reloaded=1. [Last access: February 14, 2021]. (shrink)

R.I.G. Hughes presents a series of eight philosophical essays on the theoretical practices of physics. The first two essays examine these practices as they appear in physicists' treatises (e.g. Newton's Principia and Opticks ) and journal articles (by Einstein, Bohm and Pines, Aharonov and Bohm). By treating these publications as texts, Hughes casts the philosopher of science in the role of critic. This premise guides the following 6 essays which deal with various concerns of philosophy of physics such as laws, (...) disunities, models and representation, computer simulation, explanation, and the discourse of physics. (shrink)

We discuss five kinds of representations of rationales and provide a formal account of how they can alter disputation. The formal model of disputation is derived from recent work in argument. The five kinds of rationales are compilation rationales, which can be represented without assuming domain-knowledge (such as utilities) beyond that normally required for argument. The principal thesis is that such rationales can be analyzed in a framework of argument not too different from what AI already has. The result is (...) a formal understanding of rationales, a partial taxonomy, and a foundation for computer programs that represent and reason with rationales.The five kinds of rationales are as follows: (c)ompression and (s)pecialization, which yield rules, and (d)isputation, which yields a decision. These are modeled as potentially changing the focus of the dispute. Then there are (f)it, a rationale for rules, and (r)esolution, a rationale for decisions. These cannot be modeled as simply; they force disputation to a meta-level, at least temporarily. (shrink)

R S Peters; Education and the Educated Man, Journal of Philosophy of Education, Volume 4, Issue 1, 30 May 2006, Pages 5–20, https://doi.org/10.1111/j.1467-9752.

BLWith new text and full apparatus criticus The Eudemian Ethics was one of two ethical treatises which Aristotle wrote on the subject of ethica or `matters to do with character'. Although the two works cover much the same ground, the Nicomachean Ethics is better known; the poor manuscript tradition of the Eudemian Ethics has made correct translation and interpretation of the text extremely difficult. The subject of the work is the choice of a certain means of conduct, made by a (...) `man of practical wisdom', between two extremes of behaviour: asceticism and yielding to uncontrolled impulses. Aristotle also stresses the notion of moral intention and the importance of virtue of character. This new Oxford Classical Text of the Eudemian Ethics is the result of many years of work. After Sir David Ross's death, his original text was substantially reworked and revised by his friend and colleague R. R. Walzer, who was aided in the revision by his former pupil Mrs Jean Mingay, who continued his work after his death in 1974. Mrs Mingay was fortunate in being able to make use of previously unpublished contributions from D. J. Allan after his death in the late seventies, and more recently has been helped in her work by the suggestions of Professor D. A. Russell, David Robinson, and Christopher Rowe. (shrink)

I am interested in extending modal calculi by adding propositional quantifiers, given by the rules for quantifier introduction: provided that p does not occur free in A.

this article is based on a paper that I presented during the annual meeting of the Society for the Advancement of American Philosophy, as a keynote speaker in the Coss Dialogue sessions. I was pleasantly surprised to hear that most participants of SAAP use the term "American" in its continental, rather than in the US-centric sense. I am glad that many of the philosophers of this community of knowledge have opened their dialogues to the voices and experiences south of the (...) Río Bravo. We are living during very difficult times in which cultures and practices of violence, as well as aggressive exclusion and intolerance, are affecting our communities on both sides of the border. In this context of multiple... (shrink)

What kind of knowledge is medical knowledge? Can medicine be explained scientifically? Is disease a scientific concept, or do explanations of disease depend on values? What is ‘evidence-based’ medicine? Are advances in neuroscience bringing us closer to a scientific understanding of the mind? The nature of medicine raises fundamental questions about explanation, causation, knowledge and ontology – questions that are central to philosophy as well as medicine. In this book Paul R. Thompson and Ross E. G. Upshur introduce the fundamental (...) issues in philosophy of medicine for those coming to the subject for the first time. They introduce and explain the following key topics: Understanding the physician-patient relationship: the phenomenology of the medical encounter. Models and theories in biology and medicine: what role do theories play in medicine? Are they similar to scientific theories? Randomised controlled trials: can scientific experiments be replicated in clinical medicine? What are the philosophical criticisms levelled at RCTs? The concept of evidence in medical research: what do we mean by ‘Evidence-based medicine?’ Should all medicine be based on evidence? Causation in medicine What do advances in neuroscience reveal about the relationship between mind and body? Defining health and disease: are explanations of disease objective or do they depend on values? Evolutionary medicine: what is the role of evolutionary biology in understanding medicine? Is it relevant? Extensive use of empirical examples and case studies is made throughout the book. These include debates about smoking and cancer, the use of placebos in randomised controlled trials and controversies about research into the causes of HIV and autism. This is an indispendable introduction to those teaching philosophy of medicine and philosophy of science. (shrink)

In Sinners in the Presence of a Loving God, R. Zachary Manis examines in detail the several facets of the problem of hell, considers the reasons why the usual responses to the problem are unsatisfying, and suggests how an adequate solution to the problem can be constructed.

It is a common complaint against moral philosophers that their abstract theorising bears little relation to the practical problems of everyday life. Professor Braithwaite believes that this criticism need not be inevitable. With the help of the Theory of Games he shows how arbitration is possible between two neighbours, a jazz trumpeter and a classical pianist, whose performances are a source of mutual discord. The solution of the problem in the lecture is geometrical, and is based on the formal analogy (...) between the logic of the situation and the geometry of a parabola. But an appendix provides the alternative algebraic treatment of a general two-person collaboration situation. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In _Sentient Flesh _R. A. Judy takes up freedman Tom Windham’s 1937 remark “we should have our liberty 'cause... us is human flesh" as a point of departure for an extended meditation on questions of the human, epistemology, and the historical ways in which the black being is understood. Drawing on numerous fields, from literary theory and musicology, to political theory and phenomenology, as well as Greek and Arabic philosophy, Judy engages literary texts and performative practices such as music and (...) dance that express knowledge and conceptions of humanity appositional to those grounding modern racialized capitalism. Operating as critiques of Western humanism, these practices and modes of being-in-the-world—which he theorizes as “thinking in disorder,” or “poiēsis in black”—foreground the irreducible concomitance of flesh, thinking, and personhood. As Judy demonstrates, recognizing this concomitance is central to finding a way past the destructive force of ontology that still holds us in thrall. Erudite and capacious, _Sentient Flesh _offers a major intervention in the black study of life. (shrink)